NARRATOR: Major funding is provided by, Alex Cooper Auctioneers, since 1924 has been serving the Mid-Atlantic states, featuring monthly gallery antique auction sales, our staff can assist clients with the disposition of their valued possessions.

Alex Cooper Auctioneers.

ED MORINO: Coming up on "Chesapeake Collectibles".

ROSS KELBAUGH: You have brought in a very interesting and historic grouping.

GUEST: What I brought you is, it looks like a 19th-century oil painting that I found at a Habitat for Humanity store in East Baltimore.

G. ARMORY LeCUYER: It's, it's just an iconic piece.

I mean, you would see this in the most modern of households.

ED MORINO: This is a really interesting piece because it's one of the few bronzes that are actually made and cast, and designed by a First Nation person.

DENNIS HARTER: Tell me about your collection, that was actually created by Japanese Americans.

GUEST: Yes, this is, uh, internment camp era, post-World War II.

Japanese American wooden bird pins.

P. RAAB CHRISTHILF: You said you haven't had it appraised and you bought it for $25, I think you did well.

(theme music plays).

♪ ♪ DENNIS: Welcome to "Chesapeake Collectibles."

GUEST: Thank you.

DENNIS: Uh, so we've got a number of different things spread out here, and I must say that they were not something that I expected to see uh, in the Asian Arts corner.

But tell me about your collection that was actually created by Japanese Americans.

GUEST: Yes, this is internment camp era, post-World War II, Japanese American wooden bird pins.

Started with the Japanese Americans when they were sent to the internment camps after we declared war on the Japanese in World War II.

DENNIS: Mm-hm.

GUEST: And they had nothing to do, so the United States government gave 'em art classes.

And the Takahashis and some of the other Japanese families at the Poston camp in Arizona, took art classes, and these are examples here, of the pins that are actually, I found and others have found, that were actually made in the camp.

They were made with scraps from fruitwood baskets for vegetables and oranges that came into the camp.

Wire from the screens in their windows, they used watercolor, and they also used Audubon photographs and books for reference to carve the birds, and paint them.

DENNIS: And get the coloration, sure.

GUEST: Yes, yes.

And this particular family, the Takahashis, uh, the husband would carve the birds and, and his wife would paint them.

And after they got out of the camp, they had to start new, their business was taken from them.

So they started the family business, and for 40 or 50 years they started making their own pins and selling them first in California and then they actually spread across the United States.

Uh there, later their granddaughter Carol Takahashi, who's a friend of mine, wrote this book that references the pins that the family made over that period of time.

DENNIS: Right.

It's really quite really, quite useful to see the contrast between the pieces that were created during the internment camp period.

Because you can see on the very back of the pieces, that the pins are in fact safety pins.

And the little cuttings into the soft wood that they had made it easy to insert a safety pin flat.

And then the wiring that they use as you said was from a screen, so it's very narrow.

And the little branches are real twigs...

GUEST: Yes.

DENNIS: That they again picked up off the ground.

GUEST: Yes.

DENNIS: And created these artistic venues.

As you said that the American government decided for all these in internees, periodically to allow them to have these art classes and everything and in fact in many cases, the Japanese organized the art classes themselves to maintain Japanese art traditions.

So that it's some of the camps there were dancing some of the camps there were painting classes, all taught by people who knew something about the arts.

But this one then was self-created, self-taught, and created from scraps as opposed to something that was part of their own cultural heritage.

GUEST: Yes.

DENNIS: Looking at the individual pieces that I've seen, and I've done a little bit of pricing estimates.

You yourself as a collector have been buying these pieces over the years, you have any sort of idea of evaluation of your collection?

You told me you have 250 perhaps in the total collection.

GUEST: Although I keep an Excel spreadsheet, so it's physically possible to figure out how much I spent, some items are considered priceless.

Like this particular piece, it's a considered a priceless family piece.

It, the cuckoo bird uh, was their favorite bird, the family's favorite bird, and so this particular bird I was able to acquire through my friendship with Carol Takahashi and there is no price on it at, at least... DENNIS: Absolutely.

GUEST: Yes, yes.

DENNIS: Well that's one of the, one of the things that I noticed when looking at the items that were listed as vintage, or as uh, authentic, the styles are really different from what was actually created in the internment camp itself.

GUEST: Yes.

DENNIS: So that the dozen or so pieces that you have that are in the internment camp period are themselves the, the kinds of prices that as you say are not identifiable.

GUEST: Yes, correct.

DENNIS: Uh, one thing I did want to call to the attention of the, the viewers is this male and female Baltimore Oriole.

GUEST: Yes.

DENNIS: That you have as part of the collection.

These are of course...

GUEST: A pair.

DENNIS: A pair, but newer pieces, not part of the Internment collection.

GUEST: Yes, probably, um well estimated, late 70s uh, that the Takahashis uh, made and sold... DENNIS: Made themselves and sold later on.

GUEST: They would, they'd have a list of, of variety of birds, and you could buy em in pairs.

And so this was a, a pair I collected.

DENNIS: Well that's something that other aficionados in the state of Maryland may start looking for now that they know there are Baltimore Oriole bird pins.

GUEST: There you go, yes.

DENNIS: Perhaps baseball fans will have a new souvenir that they will be looking for.

GUEST: There you go, thank you.

DENNIS: But looking at the idea of the total evaluation of your collection, I sort of did a rough estimate of things based on the pricing that you said for 250 items, most of which are of course are the more modern pieces.

GUEST: Mm-hm, yes.

DENNIS: Um, and we're talking about, I would think for the ones outside of the internment camp, valuation of probably in excess of $10,000.

And for those who are done in the internment camp, the price is only going to continue to go up.

Because they are so rare, so difficult to, to find, and basically you're not on the market.

So that a collector looking to buy these this sort of item is going to have to be offered only at your price.

GUEST: That's exciting.

DENNIS: And, and that means that again, for a real collector, it's the, the seller's market.

GUEST: Yes, thank you, thank you, that's nice.

DENNIS: So I would say again, as a start for your more modern ones, $10,000, and for the, the pieces that are in the, the real collectibles from the internment period...

GUEST: Yes.

DENNIS: An unidentifiable amount.

GUEST: Thank you, thank you so much.

DENNIS: Thank you very much for bringing them, it's a wonderful opportunity to learn about this family and what they did in the internment camp.

GUEST: Thank you so much, I appreciate it.

♪ ♪ P. RAAB: Well, welcome to the show, thanks for coming in.

And tell me a bit about what you brought us today.

GUEST: What I brought you is, it looks like a 19th Century oil painting that I found at a Habitat for Humanity store in East Baltimore.

Um, it turned out to be a, a find.

I only paid $25 for it.

The woman at the store said well buy it and get a bargain.

(laughs) Yeah, if you look up there in the corner, I left the price tag on it to prove.

So I, his name is there Zatzka, I went on Google and found he was an Austrian painter, and did allegorical scene, and that's an allegory.

And that's about all I know.

P. RAAB: Well all of that was correct, so you did, you did good work on that looking him up.

His name is Hans Zatzka, and he's Austrian as you said, born in 1859.

And he did a number of things, he did a lot of fruit, he did a lot of uh, other items, but he did the ar, allegorical paintings, as you say this one is.

What's interesting is this is really, Cupid and Psyche.

And they're famous, uh, famous mythological figures.

GUEST: Mm-hm.

P. RAAB: Uh, this is the "Lesson of Cupid".

Cupid in Greek, Cupid is Roman, but in the Greek story, his name is Eros.

GUEST: Right.

P RAAB: And he is the symbol of desire, of passionate love, of you know sexual attraction or whatever.

She on the other hand, Psyche is actually Greek for soul, so she's kind of the other part of love.

And what happens is that the Psyche had uh, two sisters but she was the most beautiful.

The two sisters got married but Psyche had a quite a string of suit, not suitors, not suitors, admirers, admirers.

So that they all came to admire her, but she wasn't getting married.

But she was so beautiful that Venus, also known as Aphrodite, uh considered herself the most beautiful.

And Psyche was getting all the attention.

So she kind of put a curse on Psyche that she would marry a big green monster.

Big green monster snake.

What is interesting is that Cupid fell in love with Psyche, and that was not in the plan.

So that Psyche uh, was being wooed by this, what she figured was a big green dragon.

But he was so sweet and so nice to her that one night she got up and held a lamp over him in bed to see who he was, and it turns out he was this beautiful Cupid.

So, but what happened is that Cupid felt betrayed by her not trusting him.

And so this whole issue here is about love, you see the two birds, two love birds up there, is about love through trial and adversity.

So she had to do three, she had to complete three tasks like Hercules or something, and she proved herself and they loved each other thereafter.

So that's the story of Cupid and his lesson.

It's a wonderful painting, it really is a wonderful painting.

And you see how diaphanous the veil or the, the clothing that she has on, and the beautiful woodland scene here.

And wonderful representing of flowers all through here and another bird.

It's signed right here, lower left, uh, Hans, Hans Zatzka.

And uh, again, a beautiful painting and period frame.

So it's a wonderful, it's a wonderful object to have.

Now the idea, as you said you haven't had it appraised and you bought it for $25, I think you did well.

What's interesting about his paintings is that the allegorical scenes actually used to go for more money, and I think that's indicative of what's happening in the market today.

That this kind of fluffy Victorian things are becoming less interested, less interesting to the public at whole, as a whole.

I saw some paintings, similar paintings, having been offered at auction recently for $10,000 to $15,000.

This one, because the market has come down or whatever, I would put a sale value of about $8,000.

GUEST: Wow.

P. RAAB: Now, of course, and that's these are recent auction values.

So I think you've done rather well with your $25.

If you were going to insure it, I would insure it for what 25, something like that.

GUEST: Wow.

P. RAAB: Some of the paintings, actually one of the paintings did sell for $26,000.

But again, those numbers have fallen as the interest in Victoriana has come down.

So I'd say $8,000 is a good idea about selling it.

GUEST: Okay, thank you very much.

P. RAAB: You're happy?

GUEST: I'm astonished.

That, that, that was certainly an investment for $25.

P. RAAB: That was a nice investment, it's a lovely painting, it really is.

GUEST: And just proves, always keep your eye open for the bargain.

(laughing).

Thank you very much.

P. RAAB: Oh, good to see you.

GUEST: Good to see you, thank you.

P. RAAB: Alrighty, uh-huh.

♪ ♪ ROSS: I'd like to welcome you to "Chesapeake Collectibles", and you have brought in a very interesting and historic grouping.

Can you share with us what you have?

GUEST: I purchased these in 2011 from the Alan Shepard estate, in Derry, New Hampshire.

And they were from his time at the US Naval Academy and the Navy.

He graduated the Academy in '44 and he spent a year or two on the USS Cogswell.

And some of these books were the training books for the Navy, and the banner from the Army-Navy game that Mr. Shepard uh, made himself.

Remember, he was the first US uh, astronaut in space.

So three weeks after uh, Yuri Gagarin went into space for one orbit, he was the next person in line.

So he basically got us into the Space Race in 1961.

The Freedom 7 capsule.

He was Apollo 14, that went and did a nine-day trip, and it was in 1971.

He was the commander.

So he's, very important person in the Space Race, he basically initiated the Space Race for the U.S. ROSS: So did he walk on the moon?

GUEST: Yes, he did.

He was the commander of Apollo 14.

ROSS: Now when did he pass?

GUEST: Uh, 1998.

He had leukemia for many years.

And he actually had an inner ear infection that prevented him from going on any space flights for 10 years, until he finally got it corrected with tubes to drain the fluid in his ears.

But he actually would've been in Apollo 1 as the commander, which was the one that burnt up on the pad, and his next assignment would have been Apollo 13, which never went into space because of mechanical problems.

So, he was lucky that he even got to the moon.

So it's... and I saw this, I saw this offered at the R&R Auction, like I said 2011, and I couldn't pass it up.

Unique, one-of-a-kind, and it's basically by Alan Shepard himself, his personal items.

ROSS: Well, the personal items relating to somebody who's such a historic figure, with all of the attention uh, increasingly paid to our space race program.

GUEST: Right.

ROSS: And the men, these very special men who were part of it, really is an incredible collection.

How did you find out about the auction?

GUEST: I just surf around, I collect a lot, I have a lot of different kind of collectibles, so if I find something that's unique, one of a kind, I'll never see again, and it's reasonably affordable, I'll go and you know, place a bid on the auction.

So I have all the different type of eclectic auction items, but this is one that's fairly complete.

ROSS: Have you ever had all of this appraised?

GUEST: Never, never been out of my basement, really.

It's seven feet long by three feet wide, can't display it.

ROSS: Yeah that was probably would you say a sail?

He probably, did he...

GUEST: I think so.

ROSS: Might have been something like that.

GUEST: A piece of Navy canvas, yeah.

ROSS: Hm, well an incredible collection for an incredible individual, that values would only continue to go up.

And it's gonna be, kinda shooting from my hip here on an evaluation for everything, I would say at least $10,000-$15,000.

GUEST: Wow.

ROSS: And I would think, from there up.

So if you were to insure it I would think a good insurance policy uh, number 20,000 to 25,000.

GUEST: Wow.

ROSS: Frankly, yes.

And the fact of having his jacket, this looked to me to be his shooting jacket, that he had to have, actually have his name on it.

So an incredible American, an incredible story, an incredible collection that you were able to bring in and share with us today.

GUEST: He actually, he actually was a very good businessman too.

He actually ran a couple of corporations.

ROSS: Oh, okay.

GUEST: He's actually one of the few astronauts who died a millionaire because he was good, good in academics... ROSS: Yes.

GUEST: At the Naval Academy.

ROSS: Yes.

GUEST: And he was a courageous pilot and astronaut.

So he's a really, overall American.

ROSS: Yes.

GUEST: A well-rounded American.

ROSS: Yes, and uh, as of those earliest astronauts were portrayed, yes as they really as about as All-American as you could get to be at that time.

GUEST: Yes, absolutely.

ROSS: Thank you, so thank you for very much for sharing the story with us, yes.

♪ ♪ G. AMORY: You know I want to thank you for coming in to "Chesapeake Collectibles", and when I saw this coming across the studio I, I pretty instinctively knew what it was, why don't you tell me what you brought in today?

GUEST: Well my parents were in the furniture business, and they went to a lot of markets and they were into modern art and modern sculpture, and this is a magazine rack.

G. AMORY: It is indeed.

GUEST: And I don't know much about it other than it was at home by the sofa as a magazine rack.

G. AMORY: Well, it's part of the art deco, uh, moving into mid-century modern movement.

This is a magazine rack that was made by the Revere company.

The designer on it was very likely Fred Farr, and he was one of a couple of designers that, that did this for Revere.

And as you can see, if you'll pull the other side a little bit, we can demonstrate that what you do is just fit the magazines in there, and then it would roll back and keep them in place.

The, the fun thing about this is, there's been such a surge in interest in uh, things from this time period, sort of the 1930s, 40s, 50s, leading up into the mid-century.

That it's, it's just an iconic piece.

I mean, you would see this in the most modern of households.

So your parents must have had a really interesting house.

GUEST: It was, it was, yes.

G. AMORY: Did it go directly to the house or did it go through the shop, to the house?

GUEST: I'm not sure.

G. AMORY: Okay.

GUEST: That, that was something I don't know.

G. AMORY: Okay, um have you ever had anybody appraise it?

GUEST: No, this is first time.

G. AMORY: You know, it's on the upswing right now.

And a couple, three years ago, I might have said this is a $400 or $500 piece.

I think we're now looking at, at auction with other items of that, that genre, that time period coming in at $450 to $1,000.

GUEST: Wow, wow.

G. AMORY: Uh, it's popularity um, they're not unique, they are out there and available, but you're going to expect to pay a pretty good penny for 'em.

GUEST: Wow, thank you very much.

G. AMORY: Thank you for doing this, this is, this is wonderful, I love it when pieces like this come in.

GUEST: Thank you for the history.

♪ ♪ ED: Well this was uh, a wonderful piece that I saw that you brought in today to "Chesapeake Collectibles", tell me a little bit about this piece.

GUEST: Uh, this is something that my father had, it's been sitting on the shelf for years, maybe since the 70s, as long as I can remember.

Uh, at one point early in the 60s he was the director of publicity and tourism in the state of South Dakota.

And he did a lot of work with the Indian nations in South Dakota, and somewhere along the line, I guess he acquired that.

ED: Do you remember what, where he was uh, stationed, where was it...

GUEST: Uh, well he was in Pierre, South Dakota at the time.

ED: So do you know anything more about this artist?

GUEST: No, I don't.

Well, today, this morning while we were getting ready to come here, I found a newspaper article that I shared with you, and so I think that was helpful to know to make the choice to bring this.

ED: Yeah, well this is a really interesting piece because it's one of the only, one of the few bronzes that are actually cast, made and cast and designed by a First Nation person.

Uh, this is Alfred Ziegler, he was born in Sioux territory, he's a member of the Sioux Nation, and was started out actually on the rodeo circuit.

Uh, also Golden Glove person, and then went into the military.

Then in '79 he went out and bought a gallery and started doing foundry work himself.

He's totally self-taught.

And this particular piece is a piece that he thought represented the first indication of the Native, Native population losing their land to the White um, population that was encroaching on their land.

Called "Citizen Arrow", uh, he did this early in the '80s.

Um, there're not too many representations of this, it's a signed piece, it's wonderfully uh modeled it's really a great piece.

Have you ever got it appraised?

GUEST: No I haven't.

ED: It is funny, he's done a lot of work, not many of his pieces come out on auction.

And when they do, however, they bring about $2,000 $2,500.

GUEST: Wow.

ED: It really is in mint condition, a beautiful piece, uh and, and very unusual in fact that he taught himself how to do bronze casting, which is really very, very difficult, so.

GUEST: Very nice.

ED: A great piece, I'm so glad you brought it in.

GUEST: Oh, well thank you.

ED: Great, well thank you for bringing it in.

GUEST: I enjoyed it very much.

GENICE LEE: Next time on "Chesapeake Collectibles".

ROSS: I, I felt a little bit like, you know, the kid on Christmas morning as uh, Santa Claus opens up his bag.

ALLAN STYPECK: This is a beautiful collection, and really should be in an institution.

Like the Air and Space Museum or the Langley Archive.

GUEST: It was in a rolled-up condition, I'm going to try to straighten it out, it broke.

MICHAEL STANTON: You have a very good collection of early 1920 to '30s cast iron vehicles.

DENNIS: It's a marvelous representation of a particular art style, from China.

GUEST: This is history.

ROSS: It really is.

NARRATOR: Major funding was provided by, Alex Cooper Auctioneers, since 1924 has been serving the Mid-Atlantic states, featuring monthly gallery antique auction sales, our staff can assist clients with the disposition of their valued possessions.

Alex Cooper Auctioneers.

GUEST: Oh I had a wonderful time, it was a wonderful experience here today.

GUEST: This was a great deal of fun, um, interesting to watch and to participate in, and the first time I've had a makeup job.

GUEST: Yeah this has been a great experience, I really enjoyed coming here, people have been so nice.

GUEST: I was quite surprised, the items were much more valuable than I anticipated.

GUEST: Now that I know the history of the piece, uh, I'll keep it in probably a better place.

And I'm going to let uh, my nieces know that when there's an estate sale, that they might want to keep this piece as opposed to just putting it in the trash.